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Obviously Powell is the best choice as heir apparent to Williams. He's done it with one franchise, bearing fantastic results, and he seems to have a continuing friendship with the Maestro too. Plus, just thinking about what he could do with the Raiders March, for example, gives me chills.

No JW no interest

https://www.patreon.com/jhfm?fbclid=IwAR2dbFZoEs_9oDH3IZGIrHwgPqeVJbRuGFvv3AT_-KNSfAesthg-Rm2Nq4E "In the coming months and years the projects of James Horner Film Music are unbelievable and ambitious : - Organize a concert with several rare and almost unknown concert works on 29 May 2020 in Sczecin, Poland. - Collaborating in producing a new mini-documentary about James Horner, which will premiere as part of the concert experience in Szczecin. - Recording and releasing an album featuring the rare, almost unheard concert works. - Write a reference book on the composer to be published in English and French."

I don't know what that juvenile doe-eyed art style is called in Alex's example, it's mass produced rubbish IMO. But the award winning Studio Ghibli work is much more grounded and I think reminiscent more of Hergé's art style, rich in the attention to little details, with just a touch of adolescent whimsy.

Whilst I wouldn't go as far as to call his work awful, I still don't think Silvestri has been top tier(ish) for 20+ years. He's a boring composer of vanilla scores these days, which just happen to be smash hit superhero movies (because everything is).

Joe Kraemer for Indiana Jones 5!

There are West Side Stories to remake, and at least half a dozen 50's suburban values dramas as patriotic duty.

We got old and don't fucken care anymore.

Listened to the whole thing, rather quickly obviously, on the way to work. Fits an icy February walk to the subway, and morning rush hour tired people intensity, lol. I love the modernism and daytime drama vibe for Rogo and Linda, but it is in places about as ugly as he's dared get in terms of sonority. There aren't many if any of the familiar emotional arcs other than at the stellar end points. It's dark grey. But I love that I put this on in 2019-20 and immediately hear a scoundrel, a princess and a victory.

John Powell didn't. But if it's crap like Rogue One, it will be rightfully bashed

She was gorgeous, in FIREFLY.

To be fair, 391 of those posts were just Korean spambot attacks

How do you have almost 400 posts but no avatar?

I'm guessing Willians will score it, and Spielberg will start working on a new project soon, one that Williams will also score. Yay.

Oh my gosh, Crumbs. I just realized this means we won't have Kamiński filming the next one.

I guarantee Williams will have first right of refusal. Disney, Kennedy, Spielberg will all want him to do it given the publicity/continuity it provides, so it just depends on whether he wants to do it without Spielberg (just as he did Star Wars without Lucas, because of Kennedy). The Force Awakens situation all over again. Mangold will have no more sway than Abrams having Gia or Johnson getting Nathan, doubly so with Spielberg staying on as producer. I think almost every director in Hollywood would want him scoring it, if they took on the gig. The amount of pressure stepping into those shoes is immense.

I still think there’s a good chance the whole film will be scrapped. It’s been in talks and in the works for years. It’s as if Disney isn’t very confident about the success and\or interest of this franchise, even with Ford involved.

If JW doesn't score it, I pity the composer who does. They will receive perpetual bashing from JWFan.

This "All the other ones suck after Raiders" schtick has been spamming the internet since KOTCS came out. I call bullshit. The entire trilogy has always been solid.

Armitage's Thorin wasn't even in my Top 5 Peter Jackson Dwarves From the Hobbit Movies.

His allegiance is to the Republic, to democracy!

Finally watched Tolkien, after missing it in the theatre because it only seems to have had a short run with just afternoon showings in one small cinema here. It's not a great film, but it's not the kind of film that has to be. I though it was pretty good, and pretty accurate from what I can tell (from forewords and annotations etc., I haven't yet read Tolkien's biography, and his Letters are still on the book stack beside bed) - if possibly not always in fact, then at least in spirit. Two nitpickily inaccurate bits though: 1) The Rheingold prelude starts about 3 minutes into the piece instead of at the beginning, and 2) the final scene is totally wrong (Tolkien famously scribbled the first line of The Hobbit in the corner of an unused piece of paper while grading exams, and he generally wrote his stuff in pencil and then wrote over it multiple times while refining it, so he certainly didn't write it in calligraphy on a blank sheet of paper). Always nice to see Colm Meaney and Derek Jacobi.

Hmm that's a tough one. I'll have to get back to you on that one. AOTC is great!

After careful deliberation I have decided that Revenge of The Sith is my least favorite of the 9 Star Wars scores.

Yeah, that was 'if my schedule allows', this is 'yes, my schedule allows it so I'm officially in'.

David Lynch should direct. It'll just be an elderly Indy sitting in the museum talking to a monkey and someone sweeping the floor for two hours.

I am not saying the ST has the best themes of the SW trilogies, but that the themes get the most variation, development, and trans-movie coherence. Kylo's theme gets the proper development that Anakin's theme never did, the MotR gets all sorts of awesome variations, Rey's thematic permutations are top-notch (other than the force theme, it probably undergoes the most variations of all the SW themes). Ultimately, though, I am splitting hairs, all three SW trilogies are superb in analogous ways. TFA, TLJ, TROS feel like one long score to me, whereas the prequels feel standalone to each movie. The OT splits the difference--the musical contrast between ANH and ESB is quite stark (though, again, both awesome).

I was about to say that name sounds familiar but couldn’t put a face to it. Thanks for jogging my memory!

I know Claudia more from the Uncharted games.

I wouldn’t want anyone else but JW for Indy 5.

Was just looking at the spreadsheet again and noticed that Healing Wounds isn't listed to feature Leia's theme yet both the OST & FYC tracks do... Checking the tracks it seems that there is a transition from one cue to the next which isn't listed in the main part of the spreadsheet: 02:54 of the OST & 01:44 of the FYC, perhaps that is 5M30 Under a Blanket? It certainly has the listed Leia's theme and directly follows 6M08 Healing Wounds, which it seems to have retained for the final edit as evidenced by the FYC which also matches the OST. Just something I noticed and wanted to see if anyone else might think this could be the case.

He'll give it a 5 out of 5, at least in the junkets. He'll ask Jim Cameron for tips on what to say.

Lucas did the Young Indy Chronicles back in the early 90's and it was a bold educational idea, to have Indy meet Freud, signposts of history and so on, to give it an edge beyond endless escapism. This would be nigh impossible today, except for a Disney+ tv series and that's exactly where Indy belongs: a reboot sans Ford, with a fresher outlook on things than remaking old serials.

It starts out so light, but gets heavier and heavier until it becomes a knockout powerhouse by the end. Goddamn.

“It’s not what a movie is about, it’s how it is about it” - Roger Ebert

No. There is another. I’m telling you guys.

The menu's are usually lossless and in 5.1 surround sound. I guarantee it'll be the same case for this.

Do you see any family resemblance here?

Beltrami's music is too passionless for Indiana Jones.

Silvestri would be a great choice if Williams isn't interested.

The guy who recently made Logan seems to be a better fit for an Indiana Jones movie than the guy who recently made Ready Player One.

That's not how I remember it being reported.

The best performance was Ian McKellen acting with thin air for most of the time.

Too many notes. And letters.

Oh no, a director who reliably wants eccentric Beltrami scores. How about no.

Dammit, I wish I had the photo of Zimmer bowing to Moroder, but at least I have some others, like this, for example:

This thread resurrection together with the recent Tintin appreciation thread shows that the Williams scores from the 2010s have often been talked down too much after release. The music is not always as immediately accessible as some earlier soundtracks, but they reveal a complexity that rewards repeated listening.